If I may just add a couple of things, one is just to echo what Rhuanedd was saying on the independence and how we want to work. We've got no interest at all in trying to—. Some of the stuff about gaming the system and whatever, it's nonsense; we absolutely want production companies based in the locality doing the work. But you've heard the answer, which is, at 95 per cent, 90 per cent, you're going to have a couple of examples where common sense says, 'That's the right way to do it'. But, absolutely, following the guidance, doing our work—that's success for us, to be very clear.
On the English-language television, obviously you've got your Welsh programming, but I'd say you have the finest champion, a very vocal champion within the BBC ecosystem, and if I had a little bit of money for every time someone says, 'How did Wales get so much drama? How on earth did you make it happen here?'—. From Roath Lock all the way to this year, where we've got so many titles in production, I think you should be proud; it's a great achievement. It is quite an interesting game, because no-one wants to see that grow more than me, but I also want to get. So, what I won't do, as director general, is say, 'Look, I'll tell you what, we'll ring-fence seven dramas here, we'll do two in the north-east', because, creatively, that would be so limiting, because, unlike Netflix, which makes a lot of drama, we only make 30, 40 titles a year. It is incredible, because we're the biggest drama supplier in the market in terms of viewership, but it is a different game to just spreading our money far and wide. Therefore, you have to have a really clear—and this is where it does get to a broader discussion than the BBC—plan around the creative industries, this incredible sector that can give high-value jobs. All our learnings are: you put the BBC in—. So,Russell T. Davies does amazing work, Roath Lock happens, but, guess what, then you've got His Dark Materials arriving, then you've got other Netflix projects. So, our vision for success, to be clear, is to get these hubs moving and get more than just individual dramas.
I think the future is—I'll use the word 'interesting', because I think our confidence in Wales as somewhere to produce network drama has never been higher. The quality of titles coming through, the ratings, are fantastic, you can be very proud of it. And, yes, you'll get some duds, but, overall, I think it's absolutely been fantastic what's happened over the last few years, and this year looks exciting. I think the future would be that we've just got to keep getting those—. We are an editorial business, we're a creative business, so getting those scripts, getting those ideas in, we're definitely leaning in as the BBC, to make stuff in Wales. And by the way, I really do believe the centre is not London for this. We've said and set as a strategic target—. We set that, by 2027, 60 per cent of network's commissioning spend is to be out of London. Guess what? We were 58 per cent last year. So, we've already kind of hit our 2027 target. So, the question is: how far can we go? These are big changes in terms of how the BBC feels and the stories we tell.